Modal Mixture

 

Lesson 31

February 11th, 2022

Lesson 31

Lecture notes:
  • Modal mixture is the use of mixing parallel major and minor modes. Composers use this technique to enrich their music with more expressive possibilities.
  • Modal mixture is usually mainly applied to major keys. The modal mixture is achieved in major key signatures by borrowing the parallel minor's flat 3, flat 6, and flat 7. As a result, mixture chords are also called "borrowed chords."
  • The major diatonic scale and natural minor diatonic scale can interchange chords to achieve a modal mixture. The degrees for the major scale include: I, ii, iii, IV, V, vi, viio, I. the degrees for the natural minor scale (in this case parallel minor) include: i, iio, bIII, iv, v, bVI, bVII, i.
  • Minor keys do not offer as many colorful and insightful changes of mode as major keys, but they are commonplace in a chromatic bass line.
  • Mixture chords often serve as a predominant function. But this is not always the case in every instance.
  • Mixture chords are sometimes precursors to an upcoming modulation, and they can be tonicized.
  • When composers use modal mixtures to hint at a modulation, they foreshadow the modulation by embellishing certain scale degrees of the target key.

The photo above is an example of a modal mixture on beat two of measure two using a minor four chord in the key of D major. Photo Credit: Tara Flandreau (http://www.musictheoryteacher.com/pb/wp_09bdc576/wp_09bdc576.html)


The photo above shows both C major and its parallel minor C minor. This picture shows you which chords you can borrow from the parallel minor if you desire to implement a modal mixture at any point of your song. Photo credit: (https://musescore.com/user/32728834/scores/6223765)


The video above explains what a modal mixture is. The presenter uses the keyboard to demonstrate the examples, and he uses the key of C major and its parallel minor C minor to make his presentation.
Video Credit: Dr. Guy Shkolnik Composer (https://www.youtube.com/watch?v=FStNDshxYvE)


The video above gives an example of a mode mixture using a tiny excerpt from one of Chopin's compositions. The presenter uses the piano to audibly illustrate the music, and he explains that Chopin created a modal mixture by implementing a flat-four in the progression. The key of the piece is A flat major. Video Credit: InMusicTheory (https://www.youtube.com/watch?v=BbYQgjInpvM)






The photos above consists of the score for a composition that I made. I highlighted a few spots outlining the lead sheet symbols for some of the chords.


The video above showcases the midi format of the composition that I made.


The photo above shows the trombone part that I extracted from the score. I will be playing this part for you.


This is me playing the trombone part from the photo above the video.

Comments

Post a Comment

Popular posts from this blog

Diatonic Sequences

Image
   Lesson 23 October 19th, 2021 Lesson 23 Lecture notes: A sequence is made when a musical idea is expressed , then repeated one or more times . Each repetition of the original idea is transposed up or down from the previous iteration by a consistent interval . A basic musical idea usually comes in either  half , full , or t wo measures . This is what ultimately becomes the sequence pattern when expressed in successive repetition . There are two main types of sequences in music which include the ascending sequences and the descending sequences . The ascending sequences include the ascending-fifth sequence and the parallel 6/3 chords sequence . The descending sequences include the descending-fifth sequence , the Pachelbel sequence , and the descending parallel 6/3 chords sequence . The various sequences follow a specific chord progression pattern . For example, the descending-fifth sequence progression would be I - IV - viio - iii - vi - ii - V - I . The Pachelbel
Read more

Dominant Sevenths

Image
  Lesson 17 March 22nd, 2021 Lesson 17 Lecture notes: The dominant seventh chord contains two tendency notes , including the leading tone and the chordal seventh . In a dominant seventh chord , the third degree of that chord is the leading tone for the tonic chord, which would resolve up to the tonic note ( 7 - 1 ). In a dominant seventh chord , the seventh degree , also known as the chordal seventh , is the tonic chord's fourth degree. This note would resolve down to the third degree of the tonic chord ( 4 - 3 ). The two predominant chords that lead to the dominant chord are the minor second and the perfect fourth . The basic phrase model would look like ( T - PD - D - T ) whenever used. Parallel fifths are easy to occur. An excellent way to avoid this is by omitting a note in either the dominant seventh chord or the tonic chord. The note that can be left out of either chord is the fifth-degree note .  Root position ( 7 ) and second inversion ( 4/3 ) dominant seve
Read more

Variations

Image
  Lesson 30 February 4th, 2022 Lesson 30 Lecture notes: There are multiple types of variations , inclusive of the continuous variation , sectional variation , figural variation , chromatic variation , textural variation , and timbral variation . The continuous variation is the continuous flow of a musical idea and a Fortspinnung phrase structure. This variation type was widely used in the Baroque era of music. Fortspinnung is the development process of a specific musical motif . First, the motif in question is developed into a complete musical using sequences , intervallic changes , and simple repetitions . There are two different types of continuous variations . Ground bass or passacaglia and chaconne . The ground bass / passacaglia  is when there is a repeating bass line , and only the upper voices change or vary . In the chaconne , the harmonic progression is repeated and varied while the bass remains the same for several successive variations , but it e
Read more